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Media pack 2018

Products

Professional

Issue 7 / 09.2016 / £4.95

studio-news.com

for residential design professionals

People Deyan Sudjic is marking his tenth year with the Design Museum as it expands and moves

PlacesOur guide to this month’s ever-increasing London Design Festival, including six

ProductsAs they get ready to reveal new products, we talk to designers and manufacturers about what it takes

ProjectsArchitects BBM Sustainable Design were asked to use their eco-expertise to bring a Victorian

ProfessionalThe topic of gender equality is trending but are women now on an equal footing in the world of

Places

Products

People

Places

Issue 12 / 12.2017 / £4.95PeopleMartin Brudnizki’s creative flair has made him one of the hottest names in hospitality design

ProductsMultiple bathrooms are more or less the norm now. Is this a creative opportunity or a drain on budgets?

PlacesNew hotel schemes are being created to please design-savvy travellers and to share on social media

ProjectsSuperior luxury meets deco heritage in Verity Woolf’s redevelopment of an apartment complex in London

Professional Finding the right balance of freelancers, contract, and full-time employees is key for a successful practice

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Media pack 2018

ContentsINTRo 3.

poRTfolIo 4.

HISToRY 6.

pARTNERS 7.

VAluE 7.

TAYlIST 8.

RATES 10.

SpEcS 11.

What is Studio? And why is its audience of interior designers and architects so valuable?

Frequency, circulation and the phenomenal spending power of the Studio readership.

The pedigree of Studio and the depth of the editorial team’s market knowledge.

Why partnering with Studio is a fantastic investment in the residential design market.

With a high value and high frequency spend, the Studio audience is an enviable resource.

How Studio completes a total market solution for the Taylist Media portfolio.

Evaluating the perfect package to meet your needs and goals.

Advertising in Studio? Here’s all the technical information you need to know...

Architects and designers Neri & Hu are hard at work building an impressive body of projects and products, but they are also

committed champions of a new era of Chinese design

DRESSED IN BLACK from head to toe, Lyndon Neri and Rossana Hu conform with many people’s conception of typical architects, yet the output of the couple’s Shanghai-based studio Neri&Hu Design and Research Offi ce is anything but typical. Renowned for its interdisciplinary approach, the studio designs interiors, products and furniture as well as buildings, all with its signature, pared-back style. “Sure, working this way is harder,” says Neri of this commitment to transcending creative disciplines, “but we think it’s worth it.”

Speaking on the stand they designed for Danish textiles brand Kvadrat at the recent Salone del Mobile in Milan, Neri and Hu explain that their team of around 110 employees split between offi ces in Shanghai and London helps them to manage the dozens of projects they have in progress at any one time, although they admit that delegating isn’t their strongpoint. “The problem is we’re too involved, which is why a lot of projects are seriously delayed and over budget,” suggests a grinning Neri. “Because we’re so hands on, it can be very frustrating for the designers working with us, but at the same time you have to have control. If you let that go then what’s the point?”

The desire to maintain control of their own destiny is what led Neri and Hu to establish their studio in 2004, after spending

the early parts of their careers in the United States. They met while studying at the University of California, Berkeley, and went on to complete Masters degrees at Harvard (Neri) and Princeton (Hu).

Neri, who was born in the Philippines, and Hu, who is Taiwanese, have said their return to China in 2002 was a reaction to the state of architecture and design in the region, and their desire to help spearhead a revolution. In addition to the many projects their studio has completed in China, Neri and Hu founded the Design Republic retail platform and established a gallery, shop and event space in Shanghai called Design Commune that aims to educate local designers and consumers by showcasing the best in international design.

The duo believe strongly in the potential for China to become an important design hub, but do they feel they’re really making an impact? “It’s not something you can ever achieve fully, it’s always a work in progress and everyone needs to contribute,” says Hu, pointing to the number of people who have worked for Neri&Hu before going on to found their own studios as evidence of the duo’s direct infl uence on the country’s creative scene.

More than any specifi c geographic infl uences, Neri and Hu feel their work is a manifestation of their personalities and

attempts to identify unique and meaningful solutions to modern problems. Their architecture and interior projects are typically defi ned by a research-led approach that draws on the context and history of a site or building. Examples include the transformation of a former Japanese army headquarters in Shanghai’s South Bund District into a boutique hotel featuring a pre-weathered steel extension that complements the building’s original concrete shell, and an apartment building in the city’s Tianzifang neighbourhood which reinterprets the traditional lane house with interconnected spaces that are better suited to modern living.

The other key factor that defi nes Neri&Hu’s practice is its commitment to interdisciplinary design. Both Neri and Hu believe architects should pay greater attention to the details that defi ne how users experience their buildings, rather than focusing purely on architecture with a big ‘A’. To this end, the studio employs product, furniture and graphic designers as well as architects, all of whom are required to engage in a variety of projects. “This cross-disciplinary approach is mandatory in our practice, to the point that graphic designers are forced to understand space and architects have to know their furniture and fabrics,” Neri points out. This working

A new generation

by Alyn Griffi ths

People

09

Studio rounds up the highlights from Eurocucina 2016 has a good night’s rest is high on the agenda for interior designers and architects working on bedroom projects. We speak to the experts to discover the key ingredients

Products

22

Cooking up a storm

by Ruby Rogers

IT WAS VERY much a case of what to conceal and what to reveal at Eurocucina 2016, which ran concurrently with Milan’s world-renowned furniture show from 12 to 17 of April. On the one hand, designers had the opinion that if you’ve got it, fl aunt it; on the other, they exercised the ‘out of sight, out of mind’ school of thought, banishing kitchen clutter behind many a stylish door.

Open elements included large structures suspended above kitchen islands as handy storage space for everything, from everyday essentials to pot plants and herbs. A smorgasbord of shelving options made for rich pickings, some were open (cue the simple wooden shelves that defi ne Nendo’s Ki kitchen for Scavolini), while others were closed off but still visible thanks to smoked or transparent glass doors. Cute cubbie holes proved popular too, as were smaller storage solutions, such as rails for hanging essential cooking tools. Freestanding glass cabinets were a nod to the continuing trend for blurring the boundaries between kitchen and living room furniture; excellent examples formed part of Antonio Citterio’s Principia kitchen for Arclinea.

Open elements were offset by super smart hidden storage ideas. Today’s kitchen is so much more than generous-sized drawers, pull-out cabinets with access on

both sides, or push-to-open overhead cabinets. Think large double doors that open-up to reveal great swathes of storage and, sometimes, a hidden prep area; think island worktops that slide back with ease to reveal the more practical elements of the kitchen: a sink or hob even. Pocket doors are popular too, sliding open and slotting neatly into the wall, saving on swing space and making the room feel less cramped.

Organisation is the secret to successful storage, specifi cally customisable solutions that allow the kitchen to be tailored to one’s lifestyle. Chef de Cuisine is a fabulous example from Toncelli, a freestanding base unit that can be integrated into any kitchen in the Toncelli collection. There is a hob on top, plus a wealth of space for shelves and generously sized drawers below. Even the inside of the door is used, with a series of Corian supports designed to hold all manner of cooking utensils.

Valcucine, which previewed a new sensor system on its Genius Loci kitchen, explored the idea of easy access in the kitchen. The Italian manufacturer wasn’t alone, but its hands-free approach to opening wall units with a simple swipe of the hand was somewhat appealing. The base units are even easier to open, simply pass a foot beneath them. Perfect if you

have your hands full. Wood was seen in all its many forms at

Eurocucina, but most signifi cantly in its natural state. Two glorious examples were Toncelli’s Essence kitchen and Boffi ’s Code kitchen, both fashioned from fossil oak. Stainless steel was thrown into the mix (Italian brand Abimis works with nothing else), as was natural stone – most notably marble – and brass, best demonstrated by Rossana’s JW16 kitchen. Stunning material mixes were seen at the majority of stands we visited, but most signifi cantly at Ernestomeda, Porcelanosa and Diesel Living with Scavolini.

Colour wasn’t widespread but when used, it was used with aplomb. TM Italia’s eye-catching Miuccia kitchen was presented in a sultry midnight blue, while Vincent Van Duysen’s update of Dada’s best selling Hi-Line VVD kitchen was presented in a dashing Baltic green lacquered fi nish.

Before we sign off, it would be remiss not to mention what was going on in terms of technology in the kitchen. No surprise that ‘smart’ is the new buzzword as manufacturers embrace IOT (Internet of Things) – aka objects that can communicate and interact with each other and their environment via the internet.

Falmec presented Brio, a home

Above right Toncelli’s Essence kitchen in fossil oak

Above left The new K-Lab kitchen by ernestomeda

Top right Rossana’s JW16 kitchen in brass

Top left Valcucine previewed a new sensor system on its Genius Loci kitchen, pictured

Below left Toncelli’s Essence kitchen in fossil oak fossil

Below right Toncelli’s Essence kitchen in fossil oak fossil

Products

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Contents

05

Professional 32–37

Projects 28–31

Places 20–27

Products 14–19

People 8–12

Competition for showrooms in London shows no sign of abating - we ask why London space matters. Plus our regular Insight columns, looking in-depth at property, architecture and the furniture business

Architectural and artisanal details are cleverly blended in a central London penthouse designed by Rolfe Judd who worked closely with makers to create one-off pieces

Milan in April is a focal point for the world of design. We report back from this year’s show with a selection of the best new lighting and furniture. Plus our round-up of new showrooms and upcoming events

The kitchen industry comes to Milan every other year for EuroCucina, its most important event. Our coverage focuses on the best in new kitchen design, for both cabinets and appliance

The work of Shanghai-based Neri & Hu, in both architecture and design, is now well-known worldwide but they remain equally passionate about design at home in China. Plus People News on p.10

Professional

Projects

THE BRIGHTESTLIGHTSCOVEREDJoin the celebration in London’s creative heart. See the best in furniture, product and lighting design from across the globe.

CDWfestival #CDW2016

Register free at clerkenwelldesignweek.com

CDW studio 240x340.indd 1 03/05/2016 16:06

3What is STUDIO?

focuSEd on a core audience of architects and interior

designers, Studio is the leading business-to-business

media brand committed to bringing the latest trends,

products and case studies to the cream of the

residential design community.

STudIo is focused on the very best of professional

residential design, with high value expert editorial that

truly understands and reflects the needs of its influential

audience of leading architects and interior designers.

THE REAdERS of Studio represent the peak of a

pyramid of influence – they create the projects that

influence the market, setting the trends that filter

down to consumers and the mass market.

“This is a community of people at the top of their sector – visionary professionals that set trends rather than follow them. They’re the elite: they know what they do is exclusive, and they know they’re a class apart in their field.” Kate Burnett, editor and founder, Studio

Media pack 2018

Influencing the

influencers

Deyan Sudjic is marking ten years at the Design Museum as it relocates to an impressive new location in west London

JUST WEEKS AWAY from the opening of the new Design Museum, Deyan Sudjic reveals little of the pressure he must be feeling. The run-up to 24 November 2016 has been long but rewarding for Sudjic, whose decade as museum director has seen him oversee many changes.

The new west London location, on the site of the former Commonwealth Institute, will more than triple the space available for exhibitions (nearly 9,500 m2 of internal space – see box for more details of the facilities) and also create a series of spaces to allow for an extended programme of events and activities. Realising such a project demands a large budget – the target was £90 miilion here – and Sudjic and his team have had to give over a considerable amount of time and effort to make sure the new museum could go ahead. Most of the money has come from private donors but it has also received £4.9million from the Heritage Lottery Fund, and £3 million from Arts Council England. Fundraising is ongoing and this summer the ‘adopt an object’ campaign was launched, aiming to raise a further £200,000 in addition to the £1 million raised by an auction at Phillips in April.

“I’ve had to rediscover a sense of patience while becoming museum director and understanding the timescale,” he

admits. “Every aspect is extremely rewarding. It’s been great to work with curators both inside and outside to realise what they want to do.”

The public perception of design has signifi cantly evolved since the Museum fi rst occupied the Boilerhouse space at London’s V&A museum in the 1980s. Given Sudjic’s brief to grow the Museum, after he joined he began thinking almost immediately about how contemporary design should be defi ned and represented.

As a trained architect and journalist (former editor of both Blueprint in the UK and Domus in Italy), he had the contacts and credentials to lead the museum into a new era: “I think the museum as a whole has matured, developed, deepened. I’ve spent a lot of time thinking about what collecting means in terms of a design museum. Opening the doors is just the beginning - basically we‘re building a new multi-stage theatre and we will succeed on the basis of our repertoire. We will work two or three years out [to create] six temporary exhibitions a year. I appointed Justin McGuirk as chief curator eight months ago and he’s a very important part of that strategy.”

The museum is hoping for 650,000 visitors a year and offering free admission to

its collections for the fi rst time. As well as providing engaging exhibitions to fi ll the new galleries, Sudjic’s remit also includes providing access to young people and professionals with its education and business programmes. The new site includes a library and archive as well as a Centre for Learning funded by the Austrian crystal manufacturer Swarovski. As well as working with schoolchildren the Designers in Residence programme is now in its ninth year, and will now have its own studio space within the museum. It selects four designers at the start of their careers to be supported and mentored.

The Museum is keen to encourage entrepreneurial thinking around design, but Sudjic is also conscious of the changes the UK may be facing as it prepares to leave the European Union. “What do we mean by British design? I think there’s such a thing as design in Britain: one of the things that has made Britain creative and attractive is its terms of its appeal to talent from around the world. I think at this particular moment, with the rather unfortunate result of the referendum, it’s important that we go on saying Britain is an open place providing a platform for the best from everywhere in the world. I think that’s what the new museum will be doing.”

Staging a comeback

by Kate Burnett

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Places

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London Design Festival

THE LONDON DESIGN FESTIVAL continues to evolve, making it feel more wide-ranging than ever. This year sees new venues, new names, new districts and new shows as well as the fi rst London Design Biennale.

The Victoria and Albert Museum will again be the hub of LDF, with projects from design duo Glithero exploring the theme of time, and Foil by Benjamin Hubert, an undulating metallic ribbon installation which will transform one of the V&A spaces with LED lights and pattern. The Festival has also commissioned a number of leading designers including Paul Cocksedge, Amanda Levete and the late Zaha Hadid to create their own souvenirs of London, which will be available to buy at the V&A shop.

This year, The Global Design Forum, the Festival’s annual programme of talks will explore the role of design in a sustainable and prosperous future and includes a panel discussion led by made.com on designing for small, urban spaces.

New show LuxuryMade makes its debut alongside the long-established 100% Design, while London Design Fair (formerly Tent and SuperBrands) adds a new fl oor to its east London venue.

Landmark projects this year include The Smile by Alison Brooks Architects. Sponsored by AHEC (American Hardwood Export Council) Brooks has designed a giant curved tulipwood structure which will be located on the Chelsea College of Arts paradeground near Tate Britain, SW1. Deceptively this 34m long installation (3.5m high, 4.5m wide), looks as if it should rock back and forward

The Studio team spent a week at the annual furniture fair, scouring both the city and the vast exhibition halls. Shown here are furniture and lighting, and on page 14 we look at

latest in kitchen design from the biennial EuroCucina

100% DesignLast year saw 100% Design move to its new home, Olympia London, where it attracted some 26,000 professional visitors. With fi ve sections – Interiors, Workplace, Kitchens & Bathrooms, Design & Build and Emerging Brands, 100% Design is one of the commercial cornerstones of the festival.

Experience is this year’s theme, and promises specially commissioned installations, immersive experiences and sensory experiments.

Among a strong line-up of exhibitors, new furniture launched this year includes Axel Veit’s Marlon Lounge Group furniture (stand L611), while eccentric interiors brand Mineheart (stand L510) returns with new launches including a new Trio edition of the popular King Edison Ghost Pendant Lamp and Courtney Cocktail Cabinet. Also in interiors, Italian sofas and seating specialist Saba Italia makes its UK debut.

New to Kitchens & Bathrooms this year is German kitchen manufacturer Rational.

Look out for...Sections/features: Design London, a selection of 15 brands chosen to represent the best in design manufacturing

Exhibitors: B&S Glass Industries brand Mirricol (stand L101) will show its bespoke coloured convex mirrors

Products: Mairi Helena’s rustic prints inspired by Scotland (stand EB293)

Seminars/talks: This year’s programme of talks will be curated by the Design Museum as part of its ‘on loan’ campaign with discussions exploring trends in contemporary practice and the future of design

DecorexThe oldest of the Festival’s design destinations is now in its third year in its new home, Syon Park in west London, where it showcases more than 400 brands – from established names to new talent – many of which will launch their latest collections over the course of the show.

The ‘roots of design’, is the theme of this year’s show, and has infl uenced British furniture designer Tim Gosling’s exhibition The Heritage of Chair Making, which forms part of the show’s entrance and documents the links between interior design, architecture and British craftsmanship.

Corinne Julius once again curates Future Heritage, a special exhibition of designer makers who this year will be showing off the techniques and materials that create these unique pieces. Exhibitors include textile designer Emma Jeffs and Silo Studio, whose work includes ceramics inspired by an experiment by Isaac Newton.

New lighting this year includes Tom Housden’s A-Beam pendant light for Hand & Eye Studio (stand G50), an extruded ceramic beam that houses the latest in LED technology.

FRONT London (Stand G29) will introduce its new Tweed – Tetris Mosaic rug, designed by Michaela Schleypen and available in rectangle or cube patterns and in ‘Brit Pop’ and ‘Old School’ colourways.

Look out for...Sections/features: The Champagne Bar, always a stand-out feature of the show, and designed this year

Places

23

by Jamie Mitchell

1 - 100% Design - Curved lines and textures soften the contemporary architecture, with brush

2 - 100% Design - Curved lines and textures soften the contemporary architecture, with brush

3 - 100% Design - Curved lines and textures soften the contemporary architecture, with brush

5 - Decorex - Curved lines and textures soften the contemporary architecture, with brush

4 - 100% Design - Curved lines and textures soften the contemporary architecture, with brush

6 - Decorex - Curved lines and textures soften the contemporary architecture, with brush

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Barnby DesignRobert Barnby marks his company’s return to LDF with a stand (G08) at London Design fair where he will be showing new pieces including new Concrete tables (below).

When was your company founded and have you launched new products every year since then? 2012… and yes, bar last year when I had a year off. My business was going through some changes, and as I was pretty busy anyway felt I should focus my attention on being in the workshop. Shows aren’t cheap and consume a huge amount of your time, so I appreciated the breathing space. My stand this year’s going to be hopefully more considered because of it.

Did you deliberately develop a launch strategy for new products as part of your business plan? Being a recent graduate attempting to set a workshop up in the fairly remote location of Hay-on-Wye (on the Welsh border) I always anticipated having to get down to the London shows. At that stage it was particularly important to get

noticed, beavering away in your workshops all very well but you need these platforms to get your products in front of the right people. Whether that be potential customers, or design journalists willing to give your brand a helping hand.

Looking back on previous launches, what lessons have you learned? Initially I always found pricing for trade a little tricky, and it’s never very professional sounding vague about it. Also when discussing bespoke projects I used to get pressured into giving a rough price. It’s too easy to get it wrong so I’ve now learned to wait until I’m a little further down the design process before talking costs.

Are you concerned about clutter, and competition for time and attention over the LDF fortnight? The buzz is one of the things I go down for, it’s not just about selling furniture. The fun bit is meeting, and being inspired by, other like minded people. At times workshop life can be a little solitary so

Products

12

Productive decisions

HakwoodDutch manufacturer Hakwood has chosen 100% Design to launch its new collection of wood wall tiles. Hollie Hak, marketing director, Hakwood

What would you advise to new design companies about to launch their fi rst products? Don’t be scared to step out in the open and improve. Try to fi nd the right balance between perfection and the pressure to launch. You obviously want your product to be perfect and it is easy to lose yourself in this process. Remember that launching the product enables you to collect valuable feedback from your customers and make your product better along the way.

Does Hakwood have a specifi c launch strategy? Our launch strategies regularly include launching new colour, texture and pattern concepts. We have an aggressive R&D department that works continuously to create unique and technologically advanced products. Generally we prepare between four and 12 months in advance. We target leading architects and designers because they seek innovative, quality products and push the limits of design and of our products. Through this avenue, we also reach their clientele and design savvy consumers. In terms of launching products, we have one guideline - show our product potential and let the creative professional imagine how they would use it.

September’s design shows are a popular choice for companies wishing to launch new products. We speak to seven companies

and designers who have all chosen different approaches to maximise their potential during the design festival

by Kate Burnett

Products

13

www.uk.roca.com

Roca presents Inspira, a new system that revolutionises the traditional concept of a bathroom collection. With three basic shapes that can be effortlessly combined, you can create a space with ultra-modern, harmonious and above all unique results.

Discover Inspira - a bathroom collection with a personal touch.

A PERSONALISED BATHROOM COLLECTION

A NEW DESIGN DNA FROM ROCA

4

Studio magazineFrequencyHISToRIcAllY STudIo has been published quarterly,

however, as part of Taylist Media’s ambitious growth

plans for Studio, ten issues are planned through 2018.

CirculationSTudIo has a highly focused and targeted circulation

of 8,000 residential design professionals. Under the

new stewardship of Taylist Media, the intention is to

further develop this clearly defined circulation with

even more key, relevant, and engaged architects,

interior designers and property developers. Our aim

is to formally audit Studio’s circulation with ABC

before the end of 2018.

Studio.briefing dElIVEREd fortnightly, Studio.briefing is a highly-

valued and respected email newsletter that goes to a

growing audience of 5,200 residential design

professionals with the latest news, comment,

products and trends. It has consistently maintained

high open rates, with new subscribers continuing to

sign up almost every day.

High value – high spending audienceSTudIo has a highly engaged and high-spending

audience. Half of all practices subscribing to Studio

have an annual spend on residential projects of over

£750,000, with two-thirds managing over five

projects a year – a fifth of subscribers manage over

20 projects annually.

Source: Representative sample of 163 Studio

subscribers April 2017. At sign-up, readers are

asked for specific information on their annual

spend and, on average, how many projects a year

they manage.

Media pack 2018

12

Products

Multiple bathrooms are increasingly the norm in UK homes. But what do clients expect in terms of

design and specifi cation, and how do interior designers, developers and architects deliver

creative and budget-friendly solutions?

Bathrooms bonanza

by Hayley Gilbert

WITH SO MANY innovations in technology and materials, as well as an ongoing appreciation for swish hotel suites, clients tend to expect a lot from their bathrooms. New-builds as well as larger period properties can all offer multiple bathroom choices – family bathrooms, children’s, ensuites, wetrooms, guest and cloakroom are just some of the options. And with manufacturers offering more product choices than ever before, what can designers offer their clients in terms of both aesthetics and practicality?

How many bathrooms the household requires will all depend on square footage as well as cost. “The number of ensuites within a home varies with each client,” explains John Pope, director at Octagon Developments. “Depending on the space available and their family circumstances. Those with older children or elderly parents living with them, for example, tend to prefer an ensuite with every bedroom to ensure

everyone has maximum privacy. For younger families it’s less of a concern, and we often recommend ‘Jack & Jill’ bathrooms for a growing family as it allows more fl exibility and the space can be adapted easily.”

“It’s important to listen to what the client hopes to achieve, how they live and what inspires them,” insists James Lentaigne, director at UK manufacturer Drummonds. “After the initial meeting and exchange of ideas and images, you start to build a picture of their needs and taste. That fi rst chat is really important and gives the opportunity to understand what they want from the property and how they are going to live in it.”

A key consideration is space, especially in period properties in urban areas, as well as the level of maintenance the homeowner is comfortable with. “Typical discussions consist mostly of what the client doesn’t want in their bathrooms,” reveals Jo Crane, senior designer at retailer Ripples. “We know

what is on the market and what can be done. We will discuss investments fairly early on, as we can then be sure that we are showing people achievable designs and products.”

When creating multiple bathrooms for one property, how much variety do designers try to include in each space? “More often than not, bathroom designs will vary throughout the house,” explains Natalie Benes, architect at Stiff + Trevillion. “For instance, they can be infl uenced by the fl oor level they are located on and the interior look of surrounding rooms. So a fi rst-fl oor bathroom may have a more traditional feel, while a basement wet room will have a luxury effect. Children’s and family spaces have a playful aesthetic, master bathrooms tend to use high-end fi nishes, while guest suites may be simpler in style.”

Developers often lean towards a similar design throughout, which is usually a matter of cost economy and simplicity of

012-16_Studio12_Products FeatureKB.indd 12 02/11/2017 15:49

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012-16_Studio12_Products FeatureKB.indd 13 02/11/2017 16:51

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Studio magazineEditorial policyTHE HIgH STANdARd of Studio’s editorial content is

uncompromising and one of the key elements that

make it unique. Put simply, the breadth and depth

of knowledge of its contributors is central to all our

content in both print and digital. They understand

exactly how this market works and what residential

design professionals need to know. Studio’s

authoritative voice covers the full spectrum of

design-led residential products and projects, from

unique one-off homes, to landmark developments.

AcRoSS All the Studio products the editorial

sections are clearly organised in logical sections

– chosen for their relevance and appeal to the target

audience.

People – The key players from across the world of

residential design

Products – We’re the first to spot the best new

products on the market and our news-driven

content analyses the crucial trends.

Places – Coverage of the leading design shows both

at home and internationally, plus all the latest

openings throughout the UK

Projects – The best residential projects from the

UK’s leading architecture ad design practices.

Professional – Key issues that impact and influence

professionals working across this ever-changing and

diverse sector.

Media pack 2018

Words of wisdom

PERHAPS it’s something to do with the creative gene, but while most lawyers and accountants dream of a corner offi ce in a big name company, the ambition of architects and designers seems to be to go it alone – even if that means doing their own books and making their own tea. The National Careers Service suggests that around half of interior designers are self-employed while a study by Loughborough University puts the fi gure for architects at around a third. Jenny Gibbs, Principal at KLC School of Design notes: “Perhaps the desire to go it alone is something that goes with creative types. I would say that about 50% of our students aspire to running their own business.”

Briony Lumb, director of Briony Lumb Associates, is a business consultant who works with architects: “Architecture is a vocation for many people, and they are usually driven by more than profi t – they want to have a societal impact and set their own goals.” A perfect example is Natasha Reid, founder of Natasha Reid Design. “I didn’t really intend to start a practice in the fi rst place,” she says. “I was working in a great practice but at the same time I started doing some art commissions and I had the opportunity to realise a commission for a project I had initiated, called Embassy for Refugees. It gave me a different way of thinking about what was important to me and that was a springboard to set up a practice of my own rather than trying to fi t into what someone else wanted.”

That kind of thinking, says Lumb, is what should be taking place long before the business plan is written. “The biggest issue is understanding your own brand,” she says. “You need to establish what your real vision is; what you are trying to do; why your business exists. Secondly you need to determine what is special about your business and how you can deliver that. The sooner you clarify that vision, the more likely you are to be doing the work you want to do.”

Sometimes self-employment is forced upon people. Graham Harris, MD of multi-disciplinary design practice SHH, took the plunge after being made redundant twice in quick succession. “People see it through rose-tinted glasses; but it’s a diffi cult path to choose and a lot of people fi nd it much harder than they thought it would be,” he warns. Finding the right partner, however, can make it easier. Harris joined up with graphic designer Neil Hogan, now SHH creative director, then with fellow architect David Spence, SHH chairman. “With a couple of partners it’s easier,” Harris says. “People can’t believe that we’ve been working together for 25 years and we are still the best of friends. We don’t always agree but usually two out of the three of us do. It’s hard to make decisions on your own and it’s much harder for a single practitioner to grow.”

Jenny Gibbs also recommends fi nding a partner: “Working for yourself can be lonely, so it’s nicer to start up with two of you with

complementary skills.” “One of the hardest things is the potential isolation and having all the responsibility yourself,” agrees Lumb, “but if you are going to bring in a partner then they absolutely must have the same goals as you do.”

One of the biggest challenges facing the newly self-employed is how to promote themselves. “There is no point quitting your job and sitting in your bedroom offi ce for months on end with your fi ngers crossed hoping someone will discover you,” warns interior designer Tom Phillips, who set up Phillips Design Studio in 2013. “You can be the most brilliant architect in the world but if you haven’t got a network and sales skills then you are going to struggle,” adds Graham Harris. It’s also important to keep up with that marketing, says Jenny Gibbs: “The pitfall I see people fall into a lot is that they do loads of promotion and network like mad to get the fi rst few jobs and then get so engrossed in the work that they don’t keep the marketing going. It’s hard to get the balance between generating the work and actually doing the work.”

When you leave a big company you lose a whole support network. “The toughest thing,” says business consultant Rupert Merson , “is getting it wrong in front of your clients and your associates and having no-one to blame it on but yourself. Running a business presents an entirely different set of challenges from being a good designer or

Practice makes perfect

by Kay Hill

Many young architects and designers aspire to running their own practice, but being your own boss

may not be as easy as it sounds. Kay Hill looks at the pleasures and perils of going it alone

Professional

37

Professional

36

“Cash fl ow can be hard, especially if you are paying someone else. It’s diffi cult suddenly having no guaranteed income.”Graham Harris

“The stress of running a business is not to be

underestimated.”Natalia Miyar

“Suddenly you are not just an

architect any more, you are a business person and you have to

step up to that reality.”

Natasha Reid“Any designer or architect looking to found his or her own fi rm will learn a lot about how to run, and how not to run, a business by working for another well-established fi rm.”Rupert Merson

“The biggest challenge is time. It’s hard not to keep on going non-stop as it’s your baby and your future and you are driven by it.”Briony Lumb

“Make sure that your business really sticks out. It’s a diffi cult climate and going it alone is not to be taken lightly.”Jenny Gibbs

“Banks and investors are not

keen on lending on such a new-

formed business, so managing the

cash fl ow is vital.”Tom Phillips

Places

25

Places

24

Previous page and below The stony tones and feature lighting, this time from Marset, continue on

Far left The stony tones and feature lighting, this time from Marset, continue on the

Left The stony tones and feature lighting, this time from Marset, continue on

Below left The stony tones and feature lighting, this time from Marset, continue on the

also very popular is that the items are shown in ‘real time’, which means as a dealer adds a new piece they can choose to have it show immediately, so new items are appearing throughout the day, every day, sometimes even on Christmas Day!”

And online ‘fi nds’ for designers can be a key to the success of some projects, admits Martin Gruenanger of London based Space Group Architects. “A very recent online ‘fi nd’ (for us) is a concrete block made of recycled material that is designed to be left exposed (forticrete.co.uk). It is absolutely beautiful and comes in a variety of colours and fi nish options. In addition to that it is also very cost effective. As such we have now proposed it for two of our projects.”

“The Internet has liberated small, bespoke manufacturers and we are always delighted if we fi nd something exciting that has not been often used before,” explains Gruenanger. “We get so many companies offering their products via email. If we see something that we like then it goes into our preferred suppliers folder - which is also digital of course. When we work on a new project we can then go simply back to existing and new suppliers.”

Indeed, Gruenanger, who estimates that Space Group sources approximately £1million annually online, isn’t too nostalgic looking back to the pre-Internet era. “Online research has massively improved our workfl ow. We have a vast number of materials and products instantly available. Sometimes we also get clients who have seen something online that they like and it forms part of the brief.”

Laura HammettLaura Hammett recommends online retailer LuxDeco luxdeco.com. They sell their own designs but they also other designers too. Their standards are very high. The products are very high quality and they’re bringing up new products all the time, so it’s very fresh and new. Luxdeco is a good example of an excellent online experience.–laurahammett.com

Sophie Ashby“Most platforms are pretty good at presenting all the information you need to make the decision. On 1stDibs for example, there are often about 10 photographs, always showing any scratches or imperfections and the dealers are very clear in their descriptions about the condition of a piece.” Sophie recommends: 1stdibs.compamono.co.ukretrostart.comthehoarde.com–studioashby.com

Martin Gruenanger“(When sourcing online) the essential aspects are good photos, close ups of the different materials, CAD fi les, dimensioned drawings, data sheets and installation guidelines, cost guidelines, options, clarifi cation of typical lead-in time and stock availability, an easy sample procurement and a telephone number that is easy to fi nd for technical questions.” Martin recommends: forticrete.co.uk/architectural-masonry/splitface-blocks/splitface-blocks.aspx–spacegrouparchitects.com

Products

10

Making waves

Studio takes a look at five key trends in bathroom design for 2017

by Ruby Rogers

Products

11

ONCE UPON A TIME, bathroom design was at the bottom of the style pile. It was form-follows-function all the way, and aesthetics were an afterthought to quality, durability and longevity. These are all worthy qualities of course, but they don’t make for the most beautiful of bathrooms.

That was then. Now, while functionality remains important – essential even –aesthetics have gained equality. Bathroom designers are developing super-practical spaces that are also super-desirable.

“Bathrooms have become a much more significant part of the house, being incorporated into the holistic design of the property,” says Roselind Wilson of Roselind Wilson Design. “As a result, its hierarchy is on par with that of other significant rooms like the kitchen. Clients want their bathrooms to feel connected to the rest of the house, so the finishes and look must marry.”

This shift in thinking has triggered a flurry of new looks for the bathroom, all of which contribute to its new role as a living space.

A soft aestheticStark clinical looks were officially over when Bette debuted a freestanding bath dressed in water-resistant fabric at Milan Design Week earlier this year. Sure, it was a concept design – but concepts inspire trends, and a ‘living bathroom’ in which we can truly relax is at the heart of the 21st century home.

Interior designer Niloufar Bakhtiar-

Bakhtiari reveals that she often uses coloured fabrics to soften the look of a bathroom: “I upholster the doors and match these with the blinds. Adding pops of colour and texture can transform the entire space.”

It’s not just water-friendly fabrics that have found their way into the bathroom. A move away from tiled or stone walls has led

to designers bringing in softer finishes such as wallpaper and even leather.

Perhaps the ultimate in decorative detail is upholstered seating, for here it is possible to truly stake a claim for comfort. Whether an occasional chair or oversized pouf, these pieces are as practical as they are good looking – perfect for perching, preening and posing.

1 - Bette’s fabric-covered concept bath was well-received when it made its debut at Milan. Bette is now working on a development of this design for a launch in spring 2017. bette.de

2 - Twenty-four new additions to Wall & Deco’s Wet System were launched at Cersaie in Bologna. Shown here in a shower enclosure is its Inner Forest design. wallanddeco.com

3 - Soft textures can mean more than just seating. Here Niloufar Bakhtiar-Bakhtiari has used coloured fabric to upholster the doors, which also match with the blinds.nbbdesign.com

4 - Studioart’s Waternatural and Watersuede collections use specially treated leathers that are entirely water resistant. The texture and shading of the leather add a subtle softness to the space. studioart.it

1 2

4

3

CAPE CODThe new bathroom series by Philippe Starck. info@uk.duravit.com, pro.duravit.co.uk and www.duravit.co.uk

6

Studio magazineHistoryHIgHlY RESpEcTEd interiors and design journalist

Kate Burnett founded what would become Studio in

2013 as a digital product called ‘The Schemer’. From

there it grew into the Studio brand as a print

magazine and digital newsletter in 2015. In March

2017, Taylist Media, the publisher behind successful

B2B titles kbbreview and ERT, as well as consumer

brand Kitchens Bedrooms & Bathrooms, added

Studio magazine to its growing portfolio with Kate

becoming part of the Taylist team of talented and

expert editors.

Kate BurnettKATE BuRNETT is the founder and editor of Studio.

Hugely respected and well known in the professional

residential design community, Kate’s career began in

professional practice with one of the UK’s leading

architects. She then returned to journalism,

specialising in contemporary design and architecture,

building up her enviable reputation and contacts

book as the editor of idfx. From there she moved to

consumer journalism, and became a regular

contributor to London’s Evening Standard, as well as

writing on design for titles including the Financial

Times, Blueprint and Elle Decoration.

She is also a consultant to several leading design

brands and is regularly invited to appear at key

industry events and judge industry awards.

Media pack 2018

Issue 6 / 05.2016 / £4.95

studio-news.com

for residential design professionals

Products

Places

People

People Shanghai-based Neri & Hu are now firmly established as rising stars in both design and architecture

PlacesMilan in April is a focal point for the world of design. We review the highlights from Salone 2016

ProductsWe select the best in new kitchen design from EuroCucina, the leading event for the kitchen industry

ProjectsArchitectural and artisanal details are cleverly blended in a central London penthouse

ProfessionalLondon showrooms remain very much in demand. We look at why it makes sense to be in the capital

FURNITURE DESIGN has historically been a male-dominated industry. However, over the years there have been some inspiring females who have become famous in their own right, from Eileen Gray and Ray Eames to Charlotte Perriand and Florence Knoll.

It is clear that the furniture design industry in 2016 has made progress in terms of creating a mixed gender workforce. More and more women are now breaking down boundaries and traditions, producing striking furniture and encouraging the next generation of furniture designers in the UK. Design Council statistics show that women are on the rise in the design industry. Between 2010-2014, the number of women in design occupations increased by 35.9%. Over this four year period, women have gone from comprising 19% of the workforce to 22%.

However there is still an obvious imbalance of genders within the fi eld, with plenty of work left to be done. The Design Economy research report evidenced the scale of the gender imbalance which starts in education. Crafts Council research has identifi ed that, during GCSE years, males outnumber females within product design subjects, especially within resistant materials technology.

The Design Council’s executive director of architecture, built environment and design, Clare Devine, says; “Good design means having a diverse range of voices in

the room, increasing the pool of talent and fl ow of ideas.” The Government claims the skills agenda is high on its list of priorities, “as it should be” remarks Devine who goes on to explain that the Design Council has plans to analyse this issue in greater detail.

“Women are still rare” in technology and design claims Jan Cavelle, who set up the Jan Cavelle Furniture Company in the early 1990s. Throughout Cavelle’s career she has faced various remarks surrounding her gender, including her stature. “They seem to think if I am a boss, I must be Amazonian.” Unfortunately, Cavelle believes that “Issues still remain. We had some male reps in only a couple of weeks ago. Despite the fact I was talking to them they still ignored me and talked directly to the two males in the offi ce as if I didn’t exist.”

Cavelle has given advice to many women over the years through mentoring and entrepreneurship schemes. She believes women are held back by a lack of ‘self-belief’ and or ‘self-confi dence’. She champions the need to work more with educational institutions to encourage females from an early age. Her advice for females working or starting out in this industry is that “self-belief is absolutely crucial. As with all careers you are going to have to fi ght through and not stop and doubt.”

Furniture designer, Bethan Gray received supportive and encouraging mentoring from Matthew Hilton and Tom Dixon before

starting her own business. “I believe that one way we can encourage women to enter the industry is to nurture and support young talent - mentoring programs are a great example of this.” After setting up her design studio in 2008, Bethan Gray now designs furniture for companies such as John Lewis and Workhouse while selling her collections through stores and galleries such as Harrods and Lane Crawford.

Gray says; “It’s fair to say that there aren’t many female designers who have managed to break through in this male-dominated industry. This in itself was an obstacle for me in my design career.” However, Gray believes the perception of women in this industry that is an obstacle that needs to be tackled.

Furniture and interior designer, Fiona Barratt-Campbell, set up her furniture design company, FBC London, three years ago, after fi nding it hard to source pieces that complemented the style of her interior design schemes. She designs ‘strong’ pieces that ‘aren’t particularly feminine’, which are all manufactured in the north east of England. “There are just no women in the industry, it is very much male dominated,” she says. “I don’t care what they say about glass ceilings being broken, it is still very diffi cult for women. You have to be very strong and be prepared to grow a tough skin,” something she’s achieved after 13 years in the industry.

Barratt-Campbell believes it is necessary

Joint enterprise

by Jo Weaden

Women are still working hard to establish themselves on an equal footing with their male counterparts as designers,

makers and managers in the UK’s furniture industry

Professional

41

Products • Kitchen News

19

by Ruby Rogers

PronormEffi ciency is a key element of any well-designed kitchen. Offering a helping hand are Pronorm’s new proTech drawers, boasting handy compartmentalised storage and easy access to the contents thanks to 100 per cent opening. The drawers are sturdy, too, able to take 60kg of weight. ProTech is available on all four of Pronorm’s ranges and comes in a choice of styles: an all-aluminium drawer will work a contemporary look, while the more traditionally styled oak interior – seen here on Pronorm’s Y-Line handleless kitchen – is available as an upgrade. pronorm.de

BiographySecond Nature and 1909 collections have welcomed a new sister brand into the fold. Conceived in response to demand for contemporary linear design, Biography comprises fi ve kitchen designs in a choice of 20 colours. Finishes range from the much-coveted lighter neutrals of porcelain and cashmere to the on-trend darker colours of dove grey and graphite. Statement tones are available too: be bold with the likes of saffron and spearmint. biographykitchens.co.uk

Worcester BoschWell-known in the world of heating, Worcester Bosch Group has launched two new wood burning stoves: the Greenstyle Hanbury and the Greenstyle Bewdley. Designed to suit both modern and traditional homes, both incorporate clean-burn technology, which promises higher heat output but minimal emissions; both stoves are between 74 per cent and 86 per cent effi cient. They are also both DEFRA exempt, so you can install them wherever you live in the country. The Greenstyle Bewdley (left) is available in 3kW, 5kW and 8kW models, while the Greenstyle Hanbury (right) is available in 4kW, 5kW and 8kW models. worcester-bosch.co.uk

Hub KitchensGlass meets metal in the D90 kitchen by TM Italia, which promises to bring the professional kitchen experience into the home. Now available at Hub Kitchens, the beauty of the D90 lies in what cannot be seen. For instance, the island features a vertical rack that slides-up to reveal a generous storage space for cooking essentials. What’s more, the sink and hob can be hidden under the worktop, creating additional worktop space. Finishing touches, such as plate warmers, are perfect for the budding masterchef. hubkitchens.com

WhirlpoolWhether your client is an absolute beginner looking for a bit of guidance, or a master chef needing an extra pair of hands, the new Whirlpool SmartCook induction hob aims to help rewrite the rules of cooking with 40 pre-programmed recipes, temperature sensors, and the fl exibility to cook anywhere on the hob. Simply select the type of food and the preferred cooking method – steam, grill or fry – and SmartCook brings the pan to the correct temperature and advises on the right steps to follow, while maintaining the exact temperature. whirlpool.co.uk

Bert & MayThere is no stopping Bert & May, which started life as a reclaimed tile company but has quickly expanded into a much-coveted lifestyle brand. Its most recent venture is kitchens, created in collaboration with Red Deer Architects and comprising three, made-to-order bespoke kitchens, designed in London and handmade in Yorkshire in a choice of brushed brass (shown), concrete, reclaimed and engineered timber, and marble. Bert & May Kitchens start from £20,000 and expect a 14-week lead time. bertandmay.com

low-res

Multi-disciplinary practice Rolfe Judd suggests its USP is not in either architecture or interiors but in the art and

craft it can bring to each project

‘THIS SPACE is about marrying three principles - architecture, interiors and works of art,’ describes Euan MacGillivray, director of architecture at Rolfe Judd. Four period buildings have been transformed by the practice into one 13-apartment block behind four different facades for its client developers Dukelease. ‘Of course it is standard to put the fi rst two together, but the third element is where we fi nd our USP and often the USP for each project.’

The aim of this new residential project, entitled Artisan, was to pay homage to, and stay sensitive to, both the artistic heritage of this area – London’s Fitzrovia - and its current status as a growing hub of creative and media agencies, inspiring lifestyle stores, and as the stomping ground for students of the local arts colleges. A close-to-perfect creative cycle has been created as a result of the project, with Rolfe Judd focusing on a craft angle for both the interior design and exterior appearance of the building. As a result, the practice commissioned work from London’s high-end makers, with the help of The New Craftsmen and Luminaire Arts organisations. This in turn has pushed the design and bespoke leanings of Fitzrovia further into the limelight, to cultivate a new local art scene. ‘‘Although speculative, it could not be boring,’ asserts MacGillivray. “We don’t do

boring, and the area does not deserve boring. With the 2018 opening of Crossrail at Tottenham Court Road, this end of ‘Central’ is softening and a more green, residential feel is emerging, alongside an innovative regeneration,’ says MacGillivray. ‘Artisan is not only part of, but a forerunner in, that.’

Shown here is one of three penthouse apartments, styled to appeal to design-savvy European clients. ‘With the penthouses our target client was probably an older couple, downsizing and coming back to the city,’ elaborates MacGillivray. ‘But yes, defi nitely with a love of design over bling!’

On entering the apartment you are struck by the vast double-height space and the light that fl oods through the arched windows. These sit behind the Georgian-style facade created by Rolfe Judd who worked closely with Camden Conservation to put together a sensitive exterior scheme. The entrance halls of all the apartments are purposely darker: snug and formal, with charcoal grey fabric wallpaper or lacquered cladding, exactly as intended by Katherine Neathercoat, head of interiors at Rolfe Judd. Not only because the client is a fan of proper entrance halls, but also because these details emphasise the impressive wow-factor of volume and light once you emerge out the other side. The open, white, contemporary shell of the home has been

softened with organic, curved shaping to interior walls and most markedly a beautiful winding staircase which leads to the mezzanine, with its rounded bleached oak handrail and treads, built by Signature Stairs. Spheres and circles take centre stage with large Lee Broom Crescent orb pendant lights hanging in the stairwell, and a giant ceramic ?? piece of wall art by Wimbledon-based artist Vaughn Horsman. This hangs over the inky black sideboard by Punt, with its gold fi nish aluminium top, one of many metallic accents in the scheme.

The architectural starting point has led to a warm minimalism, and a pared-back palette that has been layered with texture upon texture: the chunky quilted upholstery of the Tacchini Jacket armchairs; tactile, striated rain tiles in the walk-in double showers; the brushed aluminium units of the Modulanova kitchen from DesignSpace London, and antiqued mirrored glass walls in the dining space by Chelsea Glass/Fusion??

‘We wanted to put together a scheme that is both refreshing and eclectic. We love the hunt to fi nd new and exciting artisans to work with, it keeps us and the projects on our toes and for the background of this location, it was a great pairing. This was a project where corners could not be cut, it is driven by the small things, the fi nishes, and touches that go that extra mile, like shadow

The art of design

by Rebecca Hoh-Hale

28

Projects

The exhibition for emerging design

Part 1 29 June - 02 July 2016Part 2 06 - 09 July 2016Business Design Centre, London N1

Book ticketsnewdesigners.com#ND16

New desigNers - studio - siNgle page

7

THE INTERIoR dESIgN ANd ARcHITEcT mARKET is

hugely valuable for many reasons – the most obvious is

that they have high budgets and a high frequency of

specification. However, what cannot be underestimated is

the massive influence they have on the market trends

that filter down to showrooms and consumers.

In any project, the role of the interior designer and

architect is to develop a vision and Studio plays a vital role

in helping them make that vision a reality – and that’s not

just about the aesthetics of the products, but increasing

their knowledge of technical specification and service.

Putting your brand, products and services in the front

of their mind ultimately drives an engaged, high

spending, and knowledgeable specifier directly to your

retail network. Educating the audience, raising their

awareness and making direct contact can help make

sure you are an essential part of their vision.

n Put your brand in front of a highly engaged audience

of leading interior designers and architects.

n Take advantage of a fantastic showcase for

design-led products and ranges.

n Drive footfall of residential design professionals to

your own retail network.

n Increase your credibility and awareness with a key

high-spending audience.

n Connect with a genuine community of market

influencers where word of mouth is king.

Media pack 2018

Whypartner

with Studio?

Places

25

Places

24

Previous page and below The stony tones and feature lighting, this time from Marset, continue on

Far left The stony tones and feature lighting, this time from Marset, continue on the

Left The stony tones and feature lighting, this time from Marset, continue on

Below left The stony tones and feature lighting, this time from Marset, continue on the

also very popular is that the items are shown in ‘real time’, which means as a dealer adds a new piece they can choose to have it show immediately, so new items are appearing throughout the day, every day, sometimes even on Christmas Day!”

And online ‘fi nds’ for designers can be a key to the success of some projects, admits Martin Gruenanger of London based Space Group Architects. “A very recent online ‘fi nd’ (for us) is a concrete block made of recycled material that is designed to be left exposed (forticrete.co.uk). It is absolutely beautiful and comes in a variety of colours and fi nish options. In addition to that it is also very cost effective. As such we have now proposed it for two of our projects.”

“The Internet has liberated small, bespoke manufacturers and we are always delighted if we fi nd something exciting that has not been often used before,” explains Gruenanger. “We get so many companies offering their products via email. If we see something that we like then it goes into our preferred suppliers folder - which is also digital of course. When we work on a new project we can then go simply back to existing and new suppliers.”

Indeed, Gruenanger, who estimates that Space Group sources approximately £1million annually online, isn’t too nostalgic looking back to the pre-Internet era. “Online research has massively improved our workfl ow. We have a vast number of materials and products instantly available. Sometimes we also get clients who have seen something online that they like and it forms part of the brief.”

Laura HammettLaura Hammett recommends online retailer LuxDeco luxdeco.com. They sell their own designs but they also other designers too. Their standards are very high. The products are very high quality and they’re bringing up new products all the time, so it’s very fresh and new. Luxdeco is a good example of an excellent online experience.–laurahammett.com

Sophie Ashby“Most platforms are pretty good at presenting all the information you need to make the decision. On 1stDibs for example, there are often about 10 photographs, always showing any scratches or imperfections and the dealers are very clear in their descriptions about the condition of a piece.” Sophie recommends: 1stdibs.compamono.co.ukretrostart.comthehoarde.com–studioashby.com

Martin Gruenanger“(When sourcing online) the essential aspects are good photos, close ups of the different materials, CAD fi les, dimensioned drawings, data sheets and installation guidelines, cost guidelines, options, clarifi cation of typical lead-in time and stock availability, an easy sample procurement and a telephone number that is easy to fi nd for technical questions.” Martin recommends: forticrete.co.uk/architectural-masonry/splitface-blocks/splitface-blocks.aspx–spacegrouparchitects.com

Products

10

Making waves

Studio takes a look at five key trends in bathroom design for 2017

by Ruby Rogers

Products

11

ONCE UPON A TIME, bathroom design was at the bottom of the style pile. It was form-follows-function all the way, and aesthetics were an afterthought to quality, durability and longevity. These are all worthy qualities of course, but they don’t make for the most beautiful of bathrooms.

That was then. Now, while functionality remains important – essential even –aesthetics have gained equality. Bathroom designers are developing super-practical spaces that are also super-desirable.

“Bathrooms have become a much more significant part of the house, being incorporated into the holistic design of the property,” says Roselind Wilson of Roselind Wilson Design. “As a result, its hierarchy is on par with that of other significant rooms like the kitchen. Clients want their bathrooms to feel connected to the rest of the house, so the finishes and look must marry.”

This shift in thinking has triggered a flurry of new looks for the bathroom, all of which contribute to its new role as a living space.

A soft aestheticStark clinical looks were officially over when Bette debuted a freestanding bath dressed in water-resistant fabric at Milan Design Week earlier this year. Sure, it was a concept design – but concepts inspire trends, and a ‘living bathroom’ in which we can truly relax is at the heart of the 21st century home.

Interior designer Niloufar Bakhtiar-

Bakhtiari reveals that she often uses coloured fabrics to soften the look of a bathroom: “I upholster the doors and match these with the blinds. Adding pops of colour and texture can transform the entire space.”

It’s not just water-friendly fabrics that have found their way into the bathroom. A move away from tiled or stone walls has led

to designers bringing in softer finishes such as wallpaper and even leather.

Perhaps the ultimate in decorative detail is upholstered seating, for here it is possible to truly stake a claim for comfort. Whether an occasional chair or oversized pouf, these pieces are as practical as they are good looking – perfect for perching, preening and posing.

1 - Bette’s fabric-covered concept bath was well-received when it made its debut at Milan. Bette is now working on a development of this design for a launch in spring 2017. bette.de

2 - Twenty-four new additions to Wall & Deco’s Wet System were launched at Cersaie in Bologna. Shown here in a shower enclosure is its Inner Forest design. wallanddeco.com

3 - Soft textures can mean more than just seating. Here Niloufar Bakhtiar-Bakhtiari has used coloured fabric to upholster the doors, which also match with the blinds.nbbdesign.com

4 - Studioart’s Waternatural and Watersuede collections use specially treated leathers that are entirely water resistant. The texture and shading of the leather add a subtle softness to the space. studioart.it

1 2

4

3

ContactsArte arte-international.com / Cosentino cosentino.com / C.P. Hart cphart.co.uk / Crosswater crosswater.co.uk / Design Centre, Chelsea Harbour www.dcch.co.uk / Hansgrohe thewaterstudio.co.uk / Toto toto.com / Viaduct viaduct.co.uk / Westone Bathrooms westonebathrooms.com

There is also a boom going on in and around Design Centre, Chelsea Harbour. Managing director Claire German is excited: “We’ve had an unprecedented influx of new showrooms – many in the newly expanded Design Centre East. Critical mass is hugely powerful - now with 116 showrooms and over 600 international brands at one address, the design diversity on offer is remarkable.”

Raising its profile in the UK is another reason that Arte has just opened in the new East section of the Centre. Sales manager Miguel Pereira says: “We chose Chelsea Harbour Design Centre because we needed the brand presence. King’s Road or Lots Road, or even Clerkenwell, would not be enough for a brand like ours that works just for the trade. Design Centre, Chelsea Harbour is an institution that promotes itself within the industry and that fact alone makes it worth being here. The rents are slightly more expensive, but there’s a long term compensation.” Susie Rumbold, president elect of the BIID, agrees that

there’s something special about the area: “The whole design hub phenomenon is symbiotic. Showrooms attract designers attract showrooms. The Design Centre in particular is a world class resource.”

Duncan Waters, MD at West One Bathrooms, has experience of both areas – the company opened its Kohler showroom in 2011 in a former strip club in Clerkenwell, and last year took on a new four-storey showroom in King’s Road, Chelsea. “It’s all about location,” he says. “The main reason for going to Clerkenwell was the connection with architects and designers. The design action in Chelsea started with the Design Centre but has now spread into King’s Road and Lots Road and it’s becoming a one-stop destination. Our Chelsea showroom is much more of a concept: a townhouse over four floors, it is set up in a more flamboyant way with more room sets geared to interior designers and consumers. Clerkenwell is more aimed at architects and contractors so it’s a bit more clinical.”

With rents so high in these hotspots, some companies are looking elsewhere. Crosswater opened a 930 sq m purpose built trade showroom near the Dartford Bridge in Kent. “The Gallery is so vast that if we’d have invested the same amount in creating a showroom in central London, we wouldn’t have been able to offer our customers the extent of product on display and in such an impressive way,” says marketing manager Laura Weeks.

Just up the road is CP Hart’s new Dartford Bridge showroom, which again boasts a level of spaciousness that wouldn’t be achievable in central London. “You get a much more focused customer coming along,” says its sales director Adrian Smith. “They have done their research and they aren’t just popping in between lunch and coffee.” Laura Weeks believes that in time, Dartford might also become a design destination: “It’s definitely worth visiting if you want a comprehensive range of products and interior design inspiration.”

Professional

35

Above Not everyone chooses to open in London. Crosswater’s Gallery Showroom in Dartford is 900 sq m in size - far larger than could have been possible in central London

Left Cosentino’s new Clerkenwell showroom opens this summer and is specifically aimed at design professionals

Right Chaplins showroom at Design Centre, Chelsea Harbour is much smaller than its north London showroom, but helps boost brand awareness

Below left West One Bathrooms’ Chelsea showroom is aimed to appeal to interior designers

Below right Belgian wallcoverings brand Arte is one of a number of new showrooms at Design Centre East, part of the Design Centre at Chelsea Harbour

Left Viaduct was one of the first design firms to open in Clerkenwell

Below A render of British Ceramic Tile’s London Hub in Clerkenwell which opens in May

Above Design Centre, Chelsea Harbour has now grown to over 600 brands in 115 showrooms

At home with perfection.Created with authentic materials.

To see what else bulthaup kitchens have to offer, please contact your local retail partner www.en.bulthaup.com/dealers

Bath, Belfast, Cheshire, Clerkenwell, Dublin, Edinburgh, Exeter, Glasgow, Holland Park, Mayfair, Oxford, Putney, St. Albans, Swindon, Winchester

St_b3_BE_2_Detail_240x340_EN.indd 1 05.04.16 11:12

www.cphart .co.uk

A new product gallery. A materials library. A shared space to meet and work. Exceptional coffee. Discover more at London’s finest bathroom showroom.

cphart.co.uk/waterloo

C.P. HART WATERLOO - NEWNHAM TERRACE HERCULES ROAD LONDON SE1 7DR Or visit one of our 13 nationwide showrooms

8

www.deirdredyson.com

W a l k i n g o n A r t 2 0 1 6

Glimpse

Completing the Taylist Media circleWHo IS TAYlIST mEdIA?

Taylist Media is the publisher of the two leading media

brands in the kitchen, bedroom and bathroom market.

Kitchens Bedrooms & Bathrooms is the best-selling

consumer title in the sector -and has been for nearly

25 years.

Kbbreview is the best-read B2B magazine in the retail

side of the industry – and has been for over 30 years.

Both these titles – and their associated products – are

at the heart of the market and are so well established

and highly respected that they have significant

influence on their respective audiences.

Now, with the addition of Studio to the Taylist

portfolio, we are able to complete the circle and offer

the same high-quality service to the professional

residential design community.

For commercial partners and advertisers it means a

total package of options to place your key messages in

front of consumers, retailers and professional

residential designers.

December 2017 www.kbbreview.com Issue 399

IS IT TIME TO CHAMPION BRITISH BRANDS?

KITCHEN · BEDROOM · L IVING | CROWN - IMPERIAL.CO.UK

Suppliers and retailers discuss the key benefi ts

DECEMBER 2017 ISSUE 399

BR

ITISH SPECIAL

001_Cover-spine_Dec17_KBBR.indd 1 20/11/2017 12:24

Retailers

Media pack 2018

Consumers

Professionaldesigners

IN MEDIEVAL LONDON whole streets were dedicated to the same kind of shops –remembered in names like Bread Street, and Threadneedle Street. Now we have gone full circle – walk down any road in Clerkenwell and you might consider renaming it Contemporary Furniture Street, while in Chelsea, the explosion of new showrooms has led to a massive expansion of the Design Centre at Chelsea Harbour and a ripple effect through the surrounding area. In an increasingly digitally-focused marketplace, leading brands are proving that bricks and mortar are invaluable for business.

Like any business, showrooms want to be convenient for their customers, and as you can see from the fi gures opposite, Clerkenwell has more architects per head of population than anywhere else in the UK, while the area around the Design Centre at Chelsea Harbour boasts the highest concentration of interior designers. So it’s no surprise that these continue to see growth in new showrooms.

Surfaces company Cosentino is one of the latest business to move into Clerkenwell, opening its showroom at 30 Old Street in June. Showroom manager Diego Florio explains: “The reason for choosing EC1 was simple – it’s the heart of the architectural community. It’s home to more creative businesses and architects per square mile than anywhere else on the planet, so it places

us at the cutting edge of design.” Cosentino City Centre will be more than just a showroom, he says: “It will be a commercial design centre, where professionals can bring their clients and have meetings. We are going to have free wifi and coffee, and we won’t throw brochures at them – we just want them to interact with the product.”

One of the fi rst design showrooms in Clerkenwell was Viaduct, which opened in the early 1990s. MD James Mair has seen huge changes: “Rents were very cheap in Clerkenwell back then. Architects had started moving into the area and I liked the feel of it, even though there wasn’t anywhere good to eat. Gradually more designers, architects and showrooms moved in, and when Vitra and Knoll came along in the late 90s everybody took notice. Now it has reached a point where rents are so high that I don’t know how much longer it can go on for.” Hansgrohe opened The Water Studio in Clerkenwell in autumn 2015 and MD Martin Mongan notes: “Even fi ve years ago we would have paid 10% of the rent we are paying now. Leases are getting more expensive by the day and more diffi cult to fi nd. I think the action will move out towards Shoreditch and down Old Street.”

Indeed, the Shoreditch Design Triangle, which boasts SCP as well as a host of smaller design companies, has become a popular feature of the London Design

Festival, alongside nearby Redchurch Street and the Islington Design District. Other areas highlighted by the festival as having a particular concentration of design companies include Brompton and Bankside, while the Evening Standard newspaper recently recommended Hoxton as a great area for interior design showrooms.

William Knight is show director of Clerkenwell Design Week, now in its seventh year, which involves 85 local design showrooms. He too wonders what the future holds: “Clerkenwell is a dynamic part of a dynamic city and there has been a shift in the business types that can afford to be here. In particular there are not that many makers left.” As Crossrail will make Farringdon one of the busiest stations in the UK, that pace of change is unlikely to slow, although Islington Council is keen not to kill the golden goose by pricing showrooms out of the area. Its Area Action Plan for Bunhill and Clerkenwell warns that “industries... such as design and light manufacturing are either not growing or declining” mainly due to “lack of small, affordable workspaces suitable for start-ups and specialist industries”. The council’s response has been to earmark 7,500 sq m of new business fl oorspace, including 6,900 sq m for “smaller enterprises and creative industries”, to ensure that Clerkenwell stays on the design map for many years to come.

Showroom show-off s

by Kay Hill

More and more companies are making major investments to open trade-focused showrooms in the UK capital.

We look at why a physical presence can make an important difference to doing business with professionals

Above Hansgrohe’s Water Studio impressed visitors at its opening with its functional displays

Right The newly refurbished Waterloo space is the largest of CP Hart’s nine London locations

ACCORDING to the Architects Registration Board, Clerkenwell has the highest concentration of architects of any ward in London, with 791 registered there – one for every 15 residents. The adjacent Bunhill ward has 749 architects, while to the north, St Peter’s ward has a further 225. Other popular pockets of London include the Cathedrals ward of Southwark with 594 architects, St Mary’s Park in Wandsworth with 495, then 372 in Bloomsbury, 288 in Camden Town/Primrose Hill and 220 around Kings Cross. By way of comparison, the whole of London’s Havering borough has 26 architects and Barking and Dagenham just 15.

Compare these with the most populous locations for architects outside London: Glasgow has 855 (one per 700 people), Edinburgh 823, Manchester 633, Salford 628 and Birmingham 317.

Figures are not as easy to verify for interior designers, with no one professional body representing them, but the BIID says that its greatest concentration of members practice in south-west London (Chelsea, Fulham and Putney), with around 150 members working within a three-mile radius of Design Centre, Chelsea Harbour.

London’s designer clusters

32

Professional Professional

a dedicated 40sm air-conditioned room in order to accommodate the “central brains” (equipment racks and panels) of the system.

‘Once you enter though the central equipment room, it is here that you really get a sense of just how many complicated systems have been connected together to create this award-winning project,’ says Epaminondas.

‘The coolest part is the simplicity that has been created by Crestron. Having just keypads and touchscreens on the walls and controlling so many systems is really impressive. With so many processes going on, without an ‘umbrella’ style automation system, each one would require the owner to understand and learn to use the specific device interface. But this way the owner only requires to interact with one interface for all systems.’ www.crestron.com

When the designs and revisions of the technological aspect of a new home takes two years, before the project can even begin, you know it is going to be pushing the boundaries of home automation, award-winning in fact. This 2000+ sq m, xxx bedroom, family house in Cyprus has just won the 2016 Crestron Award for Best Integrated Home and it is easy to see why.

‘We had to work very closely with the interior architect and designer in order to achieve the finished project, it was definitely a team effort’ says Harris Epaminondas of Elytronic, the installers on this project. ‘Designs began in 2011 and continued through with multiple adaptions until the 2013 and the home was delivered to the client and their two children in 2015. But this is a big house, and the owners had decided from the very beginning that they would by Rebecca hoh

driven by a demanding client, the design team – including Crestron’s specialist installer – were able to deliver dreams and more in this

award-winning home

Above The brass handrail with hidden lighting looks like a strip of gold

Below The brass handrail with hidden lighting looks like a strip of gold

Simple sophistication

Advertorial

38

Advertorial

39build their home to the highest standards possible and knew exactly what they wanted.’

Having sat down to work out the family’s needs, the Elytronic team could see that there were various ways in which home automation would benefit them, such as security, as well as the audio and video that were needed for entertainment in this child-friendly home. ‘They understood that technology will help them manage the house better and more easily, as well as provide more protection for their family,’ explains Epaminondas.

Luckily for Elytronic. and the architect George Vafeades and interior designer Maria Neophytou, time wasn’t an issue. The owner did not mind the whole building process being extended in order to get the result they wanted. And because there were such specific ideas in terms of design, many aspects of the house were custom built, from the joinery involved to the systems themselves, with complete client involvement again adding to the time frame.

The finished results show a house that has an automated system for all electrical, mechanical and audio/visual elements, with no visible switches, dials, buttons or cabling, simply one Crestron System controlled by wall touchscreens or keypads, two per room. There are over 25 systems in play which were completely streamlined for the user, thanks to Crestron’s capabilities.

The home now has intelligent lighting and shading control, air conditioning and temperature control, landscaped audio with subwoofer, wifi, fire alarm and security control systems, home cinema, door and gate control, in every single room including the swimming pool - which also has its temperature, water jets, lights, water filters and pumps accessible at the touch of a button from

anywhere in the house. There is also a dedicated media room with plush seating, a beautifully lit dining room, contemporary kitchen and glass and steel staircase.

As security was key, every room, door and window is controlled using sensors. The owner knows immediately where there is movement in the house and whether these access points are opened or closed.

Sensors have also been used to provide precise readings of the exact level of liquid in the water and fuel tanks, accessible from all touch screens. Epaminondas explained that using ultrasonic sensors for this aspect of the integration was a new development for all involved.

To offer this seamless way of living an entire room needed to be built within the basement of the house, to house all the necessary equipment. The architects designed

People

10

Top These Hotaru lights are made from mulberry bark washi paper and bamboo

Above right These Hotaru lights are made from mulberry bark washi paper and bamboo

Above left These Hotaru lights are made from mulberry bark washi paper and bamboo

Below centre These Hotaru lights are made from mulberry bark washi paper and bamboo

Below left These Hotaru lights are made from mulberry bark washi paper and bamboo

Below right These Hotaru lights are made from mulberry bark washi paper and bamboo

006_Studio5_People Feature_.indd 5 19/02/2016 09:34

9

Media pack 2018

SOME CLIENTS would never let a design professional choose the pictures for their walls, some think the art in their home would benefi t from a designer’s touch and some consider art to be an investment.

In medieval London whole streets were dedicated to the same kind of shops –remembered in names like Bread Street, Pudding Lane and Threadneedle Street. Now we have gone full circle – walk down any road in Clerkenwell and you might consider renaming it Contemporary Furniture Street, while at Chelsea, the explosion of new showrooms has led to a massive expansion of Chelsea Harbour Design Centre and a ripple effect through the surrounding area. In an increasingly digitally-focused marketplace, leading brands are proving that bricks and mortar are invaluable for business.

Like any business, design showrooms want to be convenient for their customers, and as you can see from the fi gures below, Clerkenwell has more architects per head of population than anywhere else in the UK (probably in the world), while the area around Chelsea Harbour boasts the highest concentration of interior designers. So it’s no surprise that these areas are seeing a big growth in new showrooms.

Surfaces company Cosentino is the latest business to move into Clerkenwell, with a showroom opening at 30 Old Street next

month [JUNE]. Showroom manager Diego Florio explains: “The reason for choosing Clerkenwell was simple – it’s the heart of the architectural community. It’s home to more creative businesses and architects per square mile than anywhere else on the planet, so it places us at the cutting edge of design.” Cosentino City Centre will be more than just a showroom, he says: “It will be a commercial design centre, where professionals can bring their clients and have meetings. We are going to have free wifi and coffee, and we won’t throw brochures at them – we just want them to interact with the product.”

One of the fi rst design showrooms in Clerkenwell was Viaduct, which opened in the early 90s. MD James Mair has seen tremendous changeS: “Rents were very cheap in Clerkenwell back then. Architects had started moving into the area and I liked the feel of it, even though there wasn’t anywhere good to eat. Gradually more and more designers, architects and showrooms moved in, and when Vitra and Knoll came along in the late 90s everybody took notice. Now it has reached a point where rents are so high that I don’t know how much longer it will go on for.” Hansgrohe opened in Clerkenwell last year and MD Martin Mongan notes: “Even fi ve years ago we would have paid 10% of the rent we are paying now. Leases are becoming more

expensive by the day and more diffi cult to fi nd. I think the action will move out towards Shoreditch and down Old Street.”

Indeed, the Shoreditch Design Triangle, which boasts SCP as well as a host of smaller design companies, has become a popular feature of the London Design Festival, alongside nearby Islington Design District and Queens Park Design District. Other areas highlighted by the festival as having a particular concentration of design companies include Brompton and Bankside, while the Evening Standard recently recommended Hoxton as a great area for interior design showrooms, including Pitfi eld and Jasper Morrison.

William Knight is show director of Clerkenwell Design Week, now in its seventh year, which involves 85 local design showrooms. He too wonders what the future holds: “Clerkenwell is a dynamic part of a dynamic city and there has been a shift in the business types that can afford to be here. In particular there are not that many makers left.” As Crossrail will make Farringdon one of the busiest stations in the UK, that pace of change is unlikely to slow, although Islington Council is keen not to kill the golden goose by pricing showrooms out of the area. Its Area Action Plan for Bunhill and Clerkenwell warns that “industries typically associated with the area such as design and light manufacturing are either

Showroom show-off s

by Kay Hill

More and more companies are making major investments to open trade-focused showrooms in the UK capital.

We look at why a physical presence can make an important difference to doing business with professionals

Above CP Hart’s Waterloo brand gallery has more space than could ever be found in Clerkenwell or Chelsea

ACCORDING to the Architects Registration Board, Clerkenwell has the highest concentration of architects of any ward in London, with 791 individuals working there – one for every 15 residents. The adjacent Bunhill ward has 749 architects, while to the north, St Peter’s ward has a further 225. Other popular pockets of London include the Cathedrals ward of Southwark with 594 architects, St Mary’s Park in Wandsworth with 495, then 372 in Bloomsbury, 288 in Camden Town/Primrose Hill and 220 around Kings Cross. By way of comparison, the whole of London’s Havering borough has 26

architects and Barking and Dagenham just 15.Outside of London the most popular locations

for architects are Glasgow with 855 (one per 700 people), Edinburgh 823, Seafi eld 701, Hulme 654, Longsight 639, Manchester 633, Salford 628 and Birmingham 317.

With no single professional body representing interior designers, fi gures are harder to come by, but the BIID says that its greatest concentration of members practice in Chelsea, Fulham and Putney, with around 150 members working within a three mile radius of Chelsea Harbour Design Centre.

Where clients are clustered

32

Professional

THERE ARE CLIENTS who would no more let a design professional choose the art on their walls than they would trust a stranger to curate their music collection; those who regard paintings and sculpture in the same light as sofas and carpets – something that will look better for a designer’s touch; and those for whom art is an investment and as private as their bank balance.

“Art can be a diffi cult issue,” says interior designer Charlotte Crosland. “A lot of clients have fi xed tastes so they tend to deal with it themselves, or they want to use art as an investment in which case they don’t really want to discuss it. Other clients have absolutely nothing and then it’s lovely and easy for me as I have galleries and artists that I use regularly and I go around antique shops and dealers. Every client is completely different.

“I regard sourcing art as an extra,” Crosland says. “It’s something I might get involved in at the very end of the job. I might tell them to go to a particular gallery – I often use England & Co –or sometimes I’d go along with them.” For others, sourcing art is standard. Architect Thomas Griem notes: “Art is very subjective but our clients hire us for our taste. We have projects where we are asked to suggest all the art throughout the house.” Some professionals don’t feel it’s within their remit at all. Tom Bartlett, founder of Waldo Works, says: “I don’t feel it is within an interior designer’s or architect’s

skill set to suggest art to private residential clients. We will happily point them in the direction of galleries we admire and suggest where they might need something, but we like our clients to buy their own art, as they would do their own music - to express themselves.”

For those who do source art, art fairs are a great resource. At the Affordable Art Fair’s three London shows a year, more than a hundred galleries exhibit work between £100 and £5,000; while Frieze, held in October in Regents Park, features 164 galleries and has work from £40 prints up to Old Masters valued in the millions. “It’s a fantastic opportunity to interact with so much art within a short space of time,” says Luci Noel, fair director at the Affordable Art Fair. “We create a fun and approachable atmosphere so you can come in with no art knowledge at all and learn something by going to a workshop or a talk and start building relationships with galleries.” Frieze offers bespoke tours that can help designers to fi nd the right piece. “At Frieze Masters you can fi nd prehistoric fi sh hooks or a print by Goya or a 20th century sculpture; it’s embracing all types of art for all types of audience,” says communications co-ordinator Nora Foster.

Part of the popularity of art shows is that they avoid what Luci Noel terms “threshold fear” – the art world can be less than welcoming, although some galleries buck

that trend. Sarah Myerscough Gallery attracts many designers. “Our specialist knowledge is really helpful as we can suggest other artists and possibilities,” says director Sarah Myerscough. “Interior designers come to trust me and to identify with my aesthetic.” While at Gallery Fumi, director Sam Pratt says: “Working with designers and architects is a big part of what we do – they can be very particular and rightly so, but if they like the gallery and its designers and artists they will keep coming back.”

Some professionals like to use an art consultant in the same way that they might call in a kitchen designer or an AV specialist. Ashley Kotalik, director of Kotalik Art Advisory explains: “It’s time consuming to visit galleries in person and unless you have an established relationship it can be hard work fi nding what you want.” Art consultant Nick Campbell runs Narcissus Interiors that works with design professionals, sourcing art under £10,000. “The art world can be intimidating and some galleries have a great way of making less well informed visitors feel stupid – they prefer to sell to collectors they know. Using an art consultant saves time and money,” he says.

Joanna Digby of Digby Art Consulting says the relationships she has built open doors that might otherwise stay closed. “Galleries want to sell pieces that are fresh on the wall but they all have store rooms

Art for art’s sake

by Kay Hill

When should design professionals be involved in choosing art for their clients? Kay Hill asks

how to handle this sensitive subject

To

m M

an

nio

n

40

Professional

Above The art in this Kensington Park Gardens project by Waldo Works was all chosen by the client, which the company feels is just as it should be

Products

18

Contacts Colunex Portuguesa colunex.com / Goddard Littlefair goddardlittlefar.com /Hästens hastens.com / Hill House Interiors hillhouseinteriors.com /Minotti London minottilondon.com / Roche Bobois roche-bobois.com / SHH shh.co.uk / Simon Horn simonhorn.com / The Sleep Council sleepcouncil.org.uk / Somnus somnus.co.uk / Staffan Tollgård tollgard.co.uk / TurnPost turnpost.co.uk / Vispring vispring.com

think we would’ve been able to do this five years ago because the quality of digital printing onto fabric wasn’t up to standard yet,” she says.

Whichever approach is taken, most fabric companies agree risks are important while staying true to the brand. Scandinavian textile company Kvadrat has mastered the balance by commissioning external designers to push boundaries. Creative manager Stine Find Osther, says: “For our collections, we want the client to clearly see our ‘handwriting’ – which is usually a combination of a designer’s vision and Kvadrat’s design DNA.”

Another way to stay ahead of the curve is to work with suppliers and mills to develop innovative products and keep things fresh. “You should not underestimate your customer,” says Gomez. “It’s an extremely competitive market place. Working at this level of the market you need to set your brand apart and you can only do that by developing exquisite new products that nobody else has.”

Left The bed is key when planning the desgn of a bedroom. This SHH scheme takes in lighting, sound, colour and even security, all decided in consultation with the,

Below The bed is key when planning the desgn of a bedroom. This SHH scheme takes in lighting, sound, colour and even security, all decided in consultation with the,

014_Studio5_Products Feature_ .indd 6 18/02/2016 14:29

Tomas London2 The Market PlaceHampstead Garden SuburbLondonNW11 6JG

Tomas St Albans65 Catherine StreetSt AlbansHertsAL3 5BP

For initial enquiries and further information:

0800 023 6471 | 07780 843514www.tomas-kitchen-living.co.ukinfo@tomas-kitchen-living.co.uk

C L A S S I C M O D E R N K I T C H E N S & F U R N I T U R ETomas CambridgeDesign Studio & Production Centre20a Mercers RowCambridge CB5 8HY

TOM

AS LONDON

IS N

OW O

PEN Tomas KITCHEN LIVING

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Modern, Yet Not Overly ModernWith all the practical functionality of modern design, a Tomas kitchen retains great character and warmth. Timeless, tactile and lovely to live with, a Tomas kitchen could be just right for your project.

Made in CambridgeEach kitchen is made to order at our own Production Centre in Cambridge, where we also have a Design Studio.

Now in London!Following the successful launch of Tomas St Albans, Tomas London has now arrived!

Architects & DesignersWe work closely and share files with architects, designers and their clients in London and throughout the UK.

A Complete ServiceInitial layout, detailed drawings through to manufacturing and installation. Dealers for most leading kitchen brands such as Miele, Siemens and Corian.

A Danish ConnectionAlongside the kitchens we are also dealers for some of the top Danish furniture and lighting manufacturers.

Contact Us Soon!Please check out the website, visit a studio or best of all call discuss your project requirements ahead of an arranging an initial meeting.

GREAT FEATURES & ACCESSORIES SHAPES & COLOURS YOU WILL LOVE

BEAUTIFUL EDGE PROFILESLOVELY TO LIVE WITH

EXPRESSED BIRCH PLY CABINETS DOVE-TAILED SOLID OAK DRAWERS

FORWARD FEATURES LIST 2018Forward features list 2018February March April May June

July September October November December

Topical subject tbc

Outdoor

Kitchen BathroomFabrics - linen

2018 calendar

Residential case studies

Fee structures

Architecture, Furniture, Property, Comment

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Kitchen, BathroomOutdoor

Paris review

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Designers expanding into other markets

Architecture, Furniture, Property, Comment

Topical subject tbc

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Kitchen, BathroomLighting

LDW review

Residential case studies

Tax for small businesses

Architecture, Furniture, Property, Comment

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Kitchen,BathroomFabrics - cotton

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Dispute resolution

Architecture, Furniture, Property, Comment

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Kitchen

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Residential case studies

How to expand a design team

Architecture, Furniture, Property, Comment

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Dining

Kitchen, BathroomStoves/radiators

Graduate design shows

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Exporting products

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PEOPLE feature

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PLACES feature

PROJECTS feature

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Do competitions help build a business?

Architecture, Furniture, Property, Comment

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Kitchen, BathroomWall fi nishes

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Architecture, Furniture, Property, Comment

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Bathroom

Kitchen, BathroomBedrooms

Hospitality design

Residential case studies

Design education

Architecture, Furniture, Property, Comment

Topical subject tbc

Home offi ce

Kitchen, BathroomFurniture

Biennale Interieur review

Residential case studies

Design software

Architecture, Furniture, Property, Comment

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People Deyan Sudjic is marking his tenth year with the Design Museum as it expands and moves

PlacesOur guide to this month’s ever-increasing London Design Festival, including six

ProductsAs they get ready to reveal new products, we talk to designers and manufacturers about what it takes

ProjectsArchitects BBM Sustainable Design were asked to use their eco-expertise to bring a Victorian

ProfessionalThe topic of gender equality is trending but are women now on an equal footing in the world of

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